We support women writers living and working in the East of England * Winner of Outstanding Contribution to The Arts Award 2018; Shortlisted for the Women In Publishing New Venture Award 2015 & 2016, for Saboteur Best One-Off Event 2015 and Best Anthology 2014 *

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Saturday, 22 November 2014

Words and Women spoke today with book artist and
publisher Rosie Sherwood, who has an exciting new project up on Kickstarter. Rosie is from
London, takes photographs using toilet-roll tubes, and can fold an origami bird
in less than two minutes – blindfolded. Rosie talked to us about crowd funding
and the future of publishing, and explained her new book, a hybrid of short
story, photography, comics and poetry.Rosie’s work can be found at Tate Library and
Archive, Chelsea College of Art and Design, The Poetry Library, and The
National Gallery of Scotland. Her arts journal Elbow Room is sold in bookshops across the country, including Foyles and the
bookartbookshop.

W&W: Hi
Rosie. Tell us a little about your work as an artist.

Rosie: My work as an artist is driven by my desire to tell stories.
Storytelling and art have been at the heart of my life for as long as I can
remember, and the two have become intrinsically linked. Valuing that
relationship pushed me beyond my photography degree to a more multi-disciplined
approach, incorporating sculpture, text, the comic book, book art and more.
Immersing myself in book art over the last two years – including studying for
my MA at Camberwell – really unlocked the way I approach my art. Artists’ books
– books which have been wholly or primarily conceived of by the artist and
produced as an original work of art – offer not only a whole new way of
approaching form, sequence and narrative, but also a different way of
disseminating work through book fairs. This hands on, affordable, and
democratic way of making, producing and selling my art is proving to be
something I love.

W&W: You also
head up a publishing company. How did that begin?

Rosie: I founded As
Yet Untitled Publishing during my MA, a micro press
through which to produce my own books and an arts journal, Elbow Room. The idea for Elbow Room was born in
a tiny bookshop in Adelaide, Australia, which was selling handmade zines. The
work on sale was fantastic but also indicative of something that has always
frustrated me as an artist: the idea that different art forms must sit
separately, on different shelves in different sections of the bookshop. This division seems
to run counter to the way the arts truly evolve. I have always been equally
inspired by film or music as I am by photography or literature. I wanted to
create a journal that offers a space for a wide community of artists,
celebrating art in all guises under the one title. We have been running
successfully for two years now, so the idea seems to be working.

'Pinhole' (c) Rosie Sherwood

W&W: The
Ellentree is your latest book. You’ve put it on
Kickstarter and it’s raised almost seven hundred pounds in
less than a week. Can you tell us what it’s about?

Rosie: The
Ellentree is a short fantasy story. It follows
Evelyn, a young
man with an eye of red and purple who walks in two worlds. One is our own; the
other a world he has no name or explanation for. He slips between the two
uncontrolled and unwilling. To find his way back to our reality, Evelyn is
pursuing a trail of fallen leaves from a mystical tree. He must find the
rumoured Ellentree, or be lost forever. The narrative is told in alternating
chapters, switching between Evelyn and a young woman who keeps encountering him
in our world, perhaps the only person to see and remember him.

W&W: Where
did The Ellentree come from? What gave you the
idea?

Rosie: The idea
for The Ellentree could be seen as starting in
two places at two different times. The first, my grandparents’ garden one
summer, many, many years ago. I was bored and for reasons I cannot now
remember, I started making white origami birds that I hung from their apple
tree. Those birds never quite left me, and I continued taking the occasional
photograph that included origami birds.

The second and perhaps more definitive starting point for
the story came in the summer of 2009. I was reading a book about writer Neil
Gaiman. It was here that I first came across the 24-hour comic book challenge.
Started by Scott McCloud and Stephen R Bissette as a creative exercise, the
challenge is to create an entirely new 24-page comic that is written, drawn and
inked in 24 continuous hours. I decided to give the challenge a try and though
I technically failed (I don’t really draw so it was never going to work) the
idea of Evelyn and the Ellentree was born.

After that the story, the photography and the
origami all fell into place, and I started to work on what has eventually
become the book currently on Kickstarter.

W&W: Why choose crowd funding?

Rosie: I am drawn
to crowd funding for the same reason I like artists’ book fairs and comic
conventions. At its heart crowd funding is about a community built around a
common interest, in this case art. It is about people talking to each other,
engaging with and supporting artists. The arts are in huge financial trouble
around the world as governments cut their funding budgets.Governments
seem to think the arts are a luxury we cannot afford and do not need. This
couldn’t be further from the truth. We need art in all forms to help us grow
and change, learn and question. We need it to help us dream. This is something
governments should be helping to build; yet they are not.

So into the breach steps crowd funding, allowing
artists to break from traditional funding bodies, side-step governments all
together and appeal directly to the public, the community, the crowd. At a time
when artists are struggling, people are reaching into their pockets and
spending what little they might have on the development of the arts. This is an
extraordinary thing that should be celebrated. It is everything I love and hope
for in the art world. It is community taking on the old-fashioned role of arts
patron and it is pure magic.

When I completed The Ellentree it wasn’t so much a choice as an obvious step to take the plunge and
put it up on Kickstarter. I truly want to make this book as a crowd-funded
piece, and I hope people will want to help me do that.

W&W: There
are a lot of different art forms and genres involved in The Ellentree. How do they come together to shape the book?

Rosie: The
Ellentree is a lot of things at once. I have
cherry-picked my way through the forms and genres I am working with, taking
elements I am inspired by and feel compliment each other. The layout of a poem
coupled with the narrative of a short story. Photographs because I feel the
history of photography as an art believed to tell the truth (the medium’s
greatest lie) lends something to the story. Photographing the surreal
installations of origami as a way of bringing visual scope to the fantasy genre.
The way we read word and images, the white space and the page as parts of the
sequential narrative structure of the comic book. These things come together,
shaping the book’s content, yet they hang together because it is a book.

W&W: What do
you think will draw people to this book? And what will they take away from it?

Rosie: I hope
people will connect with the book in multiple ways, even in the same reading. For some people, it
might be theoretical. You might be drawn to questions of photography in comics,
photography as narrative, seeing is believing. You might be drawn to the visual
art.

But there’s also an emotional content for me. I read a brilliant analogy by
musician and writer Amanda Palmer recently. She said all artists use themselves
in their work, throwing their lives and emotions into the blender of their
creative process. How recognisable they are in the completed work depends on
how high they turn the blender on. By the end any semblance to self in your
work might be undetectable to even your closest friends.

In making
The Ellentree, I had the blender set on high for a very long time, but the story
still has seeds of my experience. Evelyn’s search for The Ellentree, the world
he slips into, even the young woman who sees and recognises him – these were
all ways I found to talk about depression, and to celebrate the freedom
creativity offers.

I hope above all that the idea of the Ellentree
as a wish granting, mystical entity, and Evelyn’s search for hope, will grab
people’s imaginations.

W&W: So with
seven years in the making, this project must have travelled a lot. Whereabouts
did you take the photographs?

'You' (c) Rosie Sherwood

Rosie: Many of
the photographs are taken on Hampstead Heath in the heart of London. That was
my stomping
ground and studio for many years. Some are taken in Devon, on the beaches and
even on Dartmoor while trying to avoid the wild ponies. One of them was taken
in the West Yard of Camden Market on New Year's morning.

W&W: Tell us
about your writing process.

Rosie: I always
knew this would be a visual book and so the writing and photography happened
alongside each other. It became a symbiotic process, whereby each sentence I
wrote or photo I took inspired or demanded the next stage of the story. I didn’t want the text to simply explain the
photographs or the images to solely work as illustrations. The aim with The Ellentree is to tell the story of
Evelyn’s search in two mediums, written and visual, and so it was important to
work through creating the story in both forms.

W&W: Origami
birds make up the leaves of the Ellentree. How many origami birds do you think
you’ve folded?

Rosie: I have
probably folded nearly two
thousand birds. The first lot got wet and mangled in
the snow. The second I gave away, imagining the book was complete, only to
realise it wasn’t and having to start making them all over again.

W&W: Do you
have a record speed?

Rosie: A family
friend got me to make one blindfolded one Christmas. I could do it in less than two minutes.

W&W: Tell us
how Kickstarter works.

Rosie:
Kickstarter works on an all or nothing funding model. Artists pitch a project
on the site, complete with description, video and budget, and then they have a
set period of time, in most cases a month, to try and raise the funds. During
this time interest and support of the project will hopefully grow, developing a
passion and community around a project.

What I like about Kickstarter is that its all or
nothing method protects both the artist and those supporting. You pledge money
to the project, and it will only be taken if the artist raises enough to
actually complete the work. This keeps people spending their money safe, be it
£5 or £500. As an artist you are also safe in the knowledge that you won’t have
to struggle to complete a project with a fraction of the funds you needed.

The more people pledge, the more excited people
are about the project, the better the artist’s chances are of actually being
able to complete it. Artists on Kickstarter need people to pledge and then help
spread the word in the hopes that everyone, artists and supporters, can see the
project realised.

W&W: What
kinds of rewards do you have for people who donate?

Rosie: I think
people imagine they need to have lots of money to support a Kickstarter but
that’s not true. I have rewards from £5 that include a specially designed
hand-written thank you card, a download of an original song written for the
book and a hand-folded origami bird.

I also have the book itself, limited edition
posters, canvas totebags, and limited edition signed photographs. Hopefully
there is something for everyone.

I am hoping to find myself making another few
hundred origami birds in December to send out to all the wonderful people who
have supported The Ellentree.

W&W: How much
money do you hope to make, and what will it be used for?

Rosie: The target
for The Ellentree on Kickstarer is £10,000, which seems like a
lot of money until you imagine that it could come from pledges of £10 or £20
from hundreds of people. Most of the money will go to printing and binding it
as professionally and beautifully as possible through Ditto Press. The small
amount left will be used for distribution, from artists’ book fairs to
bookshops and collections around the globe.

W&W: Artists’
books pay attention to the book as a physical object, as well as the story
contained inside. Do you see the recent rise of artists’ books as a counter to
ebooks?

Rosie: I have
attended a number of conferences over the last few years that have dedicated a lot of time to questioning
the rise of the artists’ book. Why now? What’s happening? What is the future of
the book going? Is the artists’ book an answer to the death knell sounded by the
ebook?

I think there is probably some truth to artists’
books
being a counter to ebooks. We enjoy the handmade, unique quality of artists’ books
just as we enjoy craft fairs and independent shops. However I also believe that something
more complicated is going on. There are book artists’ working with the ebook as
an extension to the book form. There are also publishers, mainstream and
independent, producing beautiful paper books, such as Visual Editions' The Life and Opinions of Tristram Shandy, Gentleman,and Jonathan Safran Foers' Tree of Codes.

I believe the ebook has the potential to
become simply a different way of making a book, with its own intrinsic
narrative qualities, rather than a replacement for the book as we know it
today. In doing so it might also free (or force) the paper book to try
something new. If as a result of this process people gain a rekindled love
affair for beautifully produced books then I, as a book artist and indie
publisher, will obviously be thrilled.

Rosie Sherwood

W&W: What can
people expect from The Ellentree once it’s published? Tell us about your dream
object.

Rosie: My dream
object. That’s an excellent question. My dream object is a book that feels nice
to hold. A book where the images and colours stop you in your tracks. A book
that people enjoy reading, and want to keep on their shelves when they are
done.

Rosie Sherwood is a multidisciplinary artist, independent
publisher and scholar with an MA in Book Arts from Camberwell College of Art.
She is a visiting lecturer, has been published in the Arts Library Journal, and
recently had her first solo exhibition at the bookartbookshop. Her work is
collected by Tate Library and Archive, Chelsea College of Art and Design, The
Poetry Library and The National Gallery of Scotland.

Wednesday, 12 November 2014

Guinevere Glasfurd who runs Words & Women’s Twitter feed has had
some wonderful news. Lisa Highton of Two Roads publishers has acquired the UK
rights to Guin’s debut novel The
Words In My Hands.Set
in the 17th century Dutch Republic the novel tells the story of Helena Jans van
der Strom, a Dutch servant girl, her relationship with René Descartes and their
daughter – a story hidden at the time, and almost entirely lost from history
since.

Highton says: “Helena is one of the most fully-formed and believable characters
I’ve come across in some time – a true feminist protagonist and woman in
love. Her determination to educate herself and her joy in words and
writing is a thing of wonder and heroism. From the little that is on record
of Helena’s life Guinevere has fashioned an inspiring and moving story of
an extraordinary woman.”

Two Roads will publish The Words In My Hands in hardback in early 2016.

Guinevere Glasfurd was awarded a place on Writers' Centre Norwich Escalator
programme in 2012. She has an MA in Creative Writing (Distinction), and
her short fiction has been published in Mslexia, The Scotsman and in an
anthology from the National Galleries of Scotland. She received a grant from
Arts Council England to write and research The Words in My Hand and recently
won TLC's Pen Factor Award.

Saturday, 8 November 2014

We’d like to introduce you to Isabelle King our
new Marketing Assistant.

Isabelle has worked as an actress in theatre, film and radio in the UK and abroad; a career in which she has predominantly been seen in various Shakespearian guises.

She is the founder of literary event Books Talk Back which is hosted in London and Norwich, including at The British Library with support from The Eccles Centre. Isabelle's creative writing has been short-listed for the Ideastap/Writers' Centre Norwich national fiction competition and she also writes and produces arts journalism pieces for Future Radio.

We’d also like to say a big thank you to Guinevere
Glasfurd-Brown who has run our Twitter feed brilliantly and uncomplainingly for
the past year!Guinevere lives on the edge of the Fens, near Cambridge. In 2012, she was one of ten writers mentored by the Escalator Programme for new writers at Writers' Centre Norwich, andwas awarded a grant from Arts Council England to write her first novel, The Words In My Hand.The Words In My Hand is a novel about love, learning and loss, set against the backdrop of the Scientific Revolution in Holland, and tells of the hidden love between Helena Jans van der Strom, a maid, and French philosopher, René Descartes. The novel was longlisted for the Bath Novel Award 2014 and won The Literary Consultancy's Pen Factor competition 2014.Guin’s stories have appeared in Mslexia and The Scotsman, and in a collection published by the National Galleries of Scotland. She can be followed on twitter at @guingb

*

Words And Women is organised and run voluntarily by writers Lynne Bryan and Bel Greenwood. Bel and Lynne rely on the good will and support of women like Isabelle and Guin, also family and friends and many others, for helping to put on Words And Women events and generally keep the show on the road!

We have received small grants for various projects but mainly cover our costs from any profit made through our prose competition, anthology sales, and Friends subscriptions. We like to make our events accessible to all which is why we don’t charge for most of our reading events, particularly our main event on International Women’s Day in Norwich. This year, however, we are hoping to raise some funds through a special reading featuring the celebrated writer Jane Harris. This reading takes place in Norwich on the 29th November. Tickets are £5. Please see the dedicated blog page ‘Jane Harris’ for more details. You can get a ticket for this reading and other benefits too if you become a Friend of Words And Women for £10. Please see the blog page ‘Friends’ for more details on the scheme. Your support will help us to continue promoting and celebrating women writers in the East of England.

Monday, 3 November 2014

Meghan Douglass-Elissis a young writer who was commended in our About
competition. She and eleven other writers were awarded a place on The Tough
Room workshop which was tutored by poet Hannah Walker and held at the Writers’
Centre Norwich last Monday. Here is Meghan’s review of the workshop,
accompanied by photos taken on the day. More details about the
commissioning competition, about our commended writers and four winners, can be found on our dedicated blog page ‘About comp’.

Hannah Walker & Deborah Arnander

“I imagine there are a whole array of women out there
who have been writing for enjoyment since childhood, but have never taken the
step towards casting their work into the abyss beyond the bedroom door; for me,
entering the About competition was my first shuffle in
this direction and winning a place on Hannah’s poetry workshop The Tough
Room was a surprise boost.

As a naturally introverted and shy
person the first thing that hit me as I opened the door into the Writers’
Centre (which is the most adorable and friendly arts space I have ever been to)
was a wave of warm relief: a room full of smiling women, their creative energy
and lust for it hovering over them in a sort of beckoning halo. Here, I feel
the need to point out how marvelous it was as a woman (sorry Gents) to have a
group entirely composed of other women: I felt the atmosphere to be much softer
and more inviting because of this.

Sue Dean & Becky Demmen

The idea of the workshop was to build a
relationship with one’s “inner critic”. As a newbie to the writing scene, and a
total virgin to the concept of editing my work for publication I don’t believe
I’d ever really given much thought to my inner critic. Going around the room,
we all drew and explained our inner critics who mostly seemed to be a
terrifying group of gigantic beasts lurking behind the beautiful women who so
enthusiastically drew them; fears of not meeting expectations and being judged
as “CRAP!” seem to manifest themselves as scrunched up papers on the floor, and
long periods of writer’s block; meanwhile, I drew a little smiley face in the
corner of the page with a flower stuck to its head.... I looked around me at
these colourful confident women and wondered how dare these beasts be standing
in the way of their creativity? Perhaps something I have yet to discover.

Poppy Kleiser

Through the second part of the
workshop where we began to critique each other’s work these beasts of literary
abuse seemed to shrink away quite quickly...how unnatural it is, at first, to nit
pick at another writer’s work. However, once our trepidations melted away the
result was a very constructive and inspiring look into the skill and inner
voice that shapes writing from splattered paint on a canvas into a skilled and
expressive portrait. For me, being around these women of such vast talent and
ability has set ablaze the beacon of excitement for writing within me, and in
doing so has cast away the anxiety and feelings of insufficiency that I used to
associate with it. I feel so eager to develop my poetic voice, and must thank
these fireworks of women for their inspiration to me! "

"My
journey into the world of writing started before I can remember, I’ve always
expressed myself through little stories and poems and I feel like it’s always
been a part of me. I left school at 15 finding the rigid nature of the courses
squashed my creative side, and have since been reading, writing and drawing in
my own little secluded world. I’m starting now, to try and bring my work
outside of my private head space and into the light."- Meghan Douglass-Eliss

Sunday, 2 November 2014

The final part of Claire Hynes' article on the lack of diversity in the UK publishing industry:

“In the introduction to her book, Playing in the Dark:
Whiteness and the Literary Imagination, Toni Morrison asks: “What happens to the writerly imagination of
a black author who is at some level always conscious of representing one’s own
race to, or in spite of, a race of readers that understands itself to be
“universal” or “race-free?”

Catherine Johnson, who is of mixed Jamaican and Welsh parentage,
has enjoyed a 20 year career writing books for young adults and scripts for
film including the acclaimed Bullet Boy (2004), directed by Saul Dibb. Yet she struggles with
the kind of emotional conflicts Morrison alludes to.

“As writers we are all scared and busy living in our own heads. I
sometimes have a fear that a book is not going to do as well as I hoped because
of the ethnicity of my protagonist. But then I think, maybe it’s simply the
case that I’m not a good enough writer?”

“I think many publishers would love to find more black writers but
it’s difficult to encourage the talent, and as a writer you need to have time
and money to fail. I was lucky. I started out with a small independent
publisher who sent me on courses and looked after me really well. That kind of
hand-holding just doesn’t happen in the current climate.”

Johnson believes that there are less books by people of colour for
young adults now than when she started her career: “I’ve definitely noticed a
decline,” she said. “I look at the major young people’s literary festivals and
it’s commonplace to find an all-white line up of writers.”

I did some research into this and discovered that the line-up of
47 events for the Edinburgh Book Festival this year features only one non-white
writer, Children’s Laureate, Malorie Blackman.

Things were more hopeful in the 1990s, which was undoubtedly a
time of increased confidence for black British women writers. African-American
authors, most notably Alice Walker, Maya Angelou and Toni Morrison had been
championed by women’s publishing houses like Virago and The Women’s Press and sold
books in there millions, but only after mainstream publishers expressed
disinterest. Here was tangible proof that black stories could sell.

Meanwhile,
novels about the black British experience were published by a grassroots
publishing outfit called X-Press, established in 1992. Frustrated by the lack
of black British books, X-Press founders Steve Pope and Dotun Adebayo decided
to publish stories themselves. Their authors included an impressive number of
women, among them Marcia Williams, Karlie Smith, Phyllis Blunt, Naomi Richards,
Ijeoma Inyama, and Shed Campbell. The 1990s also saw the popularity, among
black British women of a black literature reading events called The Write
Thing. Hundreds, and in some cases thousands, would attend events to hear authors
read and talk about their work. When African-American author Terri McMillan
visited the UK to promote her novel Waiting To Exhale, she was met by an audience of 4,000
at Brixton Academy. So much for the well-worn myth that black people don’t
read.

It was in this energetic climate that Sussex-born
novelist Oonya Kempadoo first arrived on the literary scene. Kempadoo’s
coming-of-age novel Buxton Spice, about a young girl’s sexual awakening in 1970s Guyana was
published in 1998, following an auction between major publishing houses. The
New York Times
described the novel as “Superb and superbly written” and Kempadoo went on to be
named as a Great Talent for the Twenty-First Century by the Orange Prize.

“Being reviewed as a woman and ethnic person I found myself
exoticised. I didn’t have anything to compare that too, but it was not
something that I felt comfortable with,” Kempadoo said.

Her second novel, Tide Running, written in the Caribbean vernacular
of Tobago was, she said, more problematic. It was considered by publishers as
more of “a black story” with a limited appeal.

“An agent told me that the French market wasn’t interested in a
black male Caribbean story. The scale of the market was considered too small,”
she said. Kempadoo’s most recent novel All Decent Animals set in Trinidad amid carnival was
published last year.

Like Okojie, Kempadoo’s literary agent is Elise Dillsworth. “It’s
a different dynamic to when I was agented and published at first. It was a very
white male dominated world of business and literary discussion and I found it
intimidating, unfair and unattractive.”

The UK publishing industry has since the 1990s launched various
initiatives in order to encourage a more ethnically diverse workforce. Yet
Philip Jones, editor of The Bookseller, said the results have been poor: “The industry tried
to change but it didn’t have a material effect, certainly not at the middle
management and upper management end. It got some people into the trade but you
have to train people and promote people. Maybe it’s a long process and maybe
the industry expected the spark to inflame,” he said.

But Jones has noticed encouraging signs of change. He cites the
example of Random House digital account manager Crystal Mahey-Morgan, a former
hip hop and spoken word promoter, who attracts non-traditional audiences to
books through smart marketing.

“Digital speaks to a different sort of community. When we hold
digital events we find that the audience is far more diverse than the typical
publishing crowd. Publishing looks quite middle class white and posh in
comparison, but the industry is changing from the ground up.

“If publishers aren’t finding audiences and publishing books which
appeal, they are neglecting their responsibilities. The more culturally diverse
we become, the more we can profit from a global digital platform.”

In The States African-American writers have invented the term
‘seg-book-gation’ to refer to the US industry practice of marketing books by
black writers only to black readers, while similar books by white writers
featuring predominantly African-American characters are marketed to a mass
readership. I hope the changes Jones talks about will make this practice
obsolete internationally.

And whether I really am passé as a black British writer or not, I
understand that writers of all hues can feel excluded or pigeon-holed. Perhaps
I need to learn from the legacy of women who have pushed forwards with creative
projects regardless. I’ve recently become a director and editor at an
East-Anglian based publishing house called Gatehouse Press. I’ll make damn sure
that the range of writers we support is broad.”

With many thanks to Claire Hynes and Mslexia for permission to publish this article on our blog.

Claire was one of the 12 writers
commended in our 'About' competition. Her short story In Her Hair
has been published in the Bath Short Story Award anthology 2014 this month.
Claire has a PhD in Creative and Critical Writing from UEA, where she teaches
creative writing to undergraduates. She is also a director and editor at
Gatehouse Press.